June 2, 2026 • 51 mins
GRAMMY-nominated pianist Lang Lang brings the show its first true classical piece. One of the world’s most celebrated musicians, he’s played everywhere from Carnegie Hall to Buckingham Palace, and has helped bring classical music to a whole new generation. Listen in for incredible new takes on a pop hit and a Norah favorite, plus a moment where the piano might just be played with a piece of fruit. Recorded 2/28/26.
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Episode Transcript
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Speaker 1 (00:00):
This episode is also available as video on YouTube. You
can visit Nora Jones channel and be sure to subscribe
while you're there. Hey, I'm Norah Jones and today I'm
playing along with Long Long.
Speaker 2 (00:12):
I'm just playing Long, I'm just playing Long Wey.
Speaker 3 (00:26):
I'm Nora and this is Sarah Odelcome to our show,
Playing along, Playing Along Long. Our guest today is an
internationally acclaimed pianist, one of the most recognizable classical musicians
in the world. Yes, Long Long, He's played everywhere from
Carnegie Hall to Royal Albert Hall, to right here and
to right here, right here, and with also the world's
(00:47):
greatest orchestras to write here and then back to here.
Speaker 1 (00:51):
He played my piano.
Speaker 3 (00:54):
He's really introduced classical music to a whole new generation.
Speaker 1 (00:58):
He's incredible. He's incredible. I mean he sat here and
played this piano for me when we first start the episode.
You'll hear it. It's so beautiful. Yeah, and he's also
just so cool and easy to hang with and talk to.
He's really just a special human.
Speaker 3 (01:13):
I think, gosh, yeah, you will hear the first, like
you said, the first classical, truly classical piece that we've
done on this show sol a piano piece from the
eighteen hundreds. Yeah, and it'll just make you cry.
Speaker 1 (01:25):
It's so beautiful that just everything he does, and we
do a pretty special cover.
Speaker 3 (01:30):
Yes, you might be surprised by the song that you
and Long Lung chose to take on, but grab your
pink cowboy hats and stay tuned.
Speaker 4 (01:40):
Wait and give it away?
Speaker 5 (01:42):
Oh does it?
Speaker 1 (01:43):
I don't know. Well, anyway, this is a really fun one.
I hope you enjoy the episode with Long Long. All right,
well yeah, I can't wait to hear you play my right, Okay.
Speaker 6 (01:56):
So let me play the romantic composer France list Consolation
number number two.
Speaker 1 (02:07):
Okay in England.
Speaker 7 (04:24):
After after, I'm gonna cry.
Speaker 1 (05:37):
It's so beautiful. Thank you, thank you, thank you.
Speaker 8 (05:41):
I mean to play in your studio. It's very inspirational.
Speaker 1 (05:44):
Oh good, I was gonna say you. It feels so
physical watching you play. You're very physical. You're in the
music in a way.
Speaker 6 (05:54):
That I mean, you know the things for me and
piano unlike vallein or any other instrument, you can grab it,
you can, you know, you can play with it. But unfortunately,
you know, we actually have to go into the pianos
in order to have that complete connection. That's what I believe,
(06:17):
and so so that's why we have to go into
the piano as a pianist.
Speaker 1 (06:20):
It feels totally connected, like you and my piano or
now what, thanks for playing it? What? What did you think?
What do you How would you describe this piano and
the personality. Do you feel like all pianos have sort
of their own personal.
Speaker 6 (06:35):
I believe every piano, every instrument, has their own kind
of character. And what do you have is a beautiful
sounded piano with a lot of substance, and it has
this very lyrical a little bit more to the kind
of darker sound. But I really love it because it's
(06:57):
really shows the depth of.
Speaker 8 (07:00):
The instrument and you can go really into it.
Speaker 1 (07:04):
Yeah, yeah, it's cool.
Speaker 6 (07:07):
It's so interesting to feel that this piano fits your
voice very well.
Speaker 1 (07:12):
Yeah it does. I had a hard time finding a piano.
I think I bought this twenty five years ago maybe, yeah,
And I'm very specifically. It was hard for me to
find one that I felt connected to because I have
a problem with very bright sounding pianos. But yeah, I
(07:34):
love this piano.
Speaker 8 (07:36):
It's great choice and girl, beautiful.
Speaker 1 (07:39):
You got the nicest legs of any piano I've ever seen.
They're carved, They're so really really handcrafted. Yeah, when you tour,
do you have do you play? Because you play concert
halls a lot, do you play? What is there? Do
you have your own money?
Speaker 6 (07:57):
I used their pianos, you know, very special occasions. Sometimes
I take some pianos that I chose. And normally every
concert hall has a very good piano, and specially the
good Stammy there, and and they also have a great
technician that you can work with. So even the piano
(08:20):
is not up to your level, you can basically let
him or her to make it to the level you want.
Speaker 1 (08:27):
Okay, yeah, yeah. And when you travel do you stay
you stay in hotels? Do you have a piano ever
in your hotel?
Speaker 5 (08:38):
Yes?
Speaker 6 (08:39):
Normally Stammy provide an upright piano in my hotel rooms,
and then we try to find a room which is
not not in the middle of the hotel on the
edge so that I can I can practice or finding
the next door is like one of my friends, of
my relatives, so when they tour with me, so then
(09:02):
nobody going to complain.
Speaker 8 (09:06):
I'm trying to do.
Speaker 7 (09:07):
Yeah.
Speaker 1 (09:07):
Yeah, And do you ever play in the middle of
the night.
Speaker 8 (09:09):
Are you trying to If I do it, I will
play very soft.
Speaker 6 (09:13):
Yeah, so I will not play something evening exactly.
Speaker 1 (09:18):
I also noticed that you use the soft pedal a lot.
I do too, And someone told me once that they
were like surprised because not everybody in my field uses
it quite as much or something. I don't really know.
I've never noticed anybody using it like that. That's but
I noticed you using it a lot, up and down
(09:38):
and up and down.
Speaker 8 (09:39):
Yeah.
Speaker 1 (09:40):
Yeah.
Speaker 6 (09:40):
For a classical repertoire, especially romantic repertoire, that they need
always kind of change of colors and the range of
the subtleness of the soft, like the sweet soft or
a little bit hard soft or more saddenings. So the
left pedal make quite a quick difference.
Speaker 1 (10:03):
Yeah.
Speaker 6 (10:03):
Yeah, it doesn't make a huge difference, but when you
push down, it reacts very fast, so in a way
that you can hear a quick react.
Speaker 1 (10:17):
Do you think it's consistent or every piano has a
different level of the soft pedal.
Speaker 6 (10:22):
Some piano maybe has a little deeper softness, yeah, but
regularly it's similar. Yeah, Because the theory is that when
you push down and then there's one one of the strings,
one of the three or one of the two get muted,
so that's automatically become less or softer.
Speaker 1 (10:47):
Yeh yeah, just less. Sound awesome. That was so pretty.
Do you know what year that piece was written.
Speaker 6 (10:56):
Around during the Romantic era on the nineteen century. I
don't know exactly which year, but he wrote three of
the consolation so beautiful and one is more beautiful than
the others, really beautiful.
Speaker 1 (11:12):
It was so beautiful, and it had so many elements
of you know, modern Gershwin or you know, it reminded me.
It had the dominant seven chord and all the things
that came later.
Speaker 6 (11:26):
At least was the basically the king of piano. Like
most of the the great pianists after him, was his
students or influenced by him.
Speaker 8 (11:36):
So it was a great line.
Speaker 6 (11:39):
And then his music was also very popular. He was
kind of like the rock star and at his time. Okay, yeah,
so that's why I think like Gershwin or the later
great musicians took some ideas from him. And this guy
also invented the piano recital. Really, he's the first one
made pianiano become a purer solo instrument rather than a
(12:05):
collaborative instrument.
Speaker 1 (12:07):
I didn't know that.
Speaker 7 (12:08):
Yeah.
Speaker 6 (12:08):
So he's like and he he's the first person who
kind of started as a piano solo recital and management,
you know, the whole music.
Speaker 8 (12:20):
Career profession he created basically.
Speaker 6 (12:25):
So this guy was lable woe and he lived very
long also and yeah, so he played entire of his
life and just keep composed, teaching, and it was really
important for the piano. And also the one very interesting thing.
He's so powerful and he always destroyed pianos really, so
(12:47):
he made piano much stronger, yeah, because he would beat
them up, beat them up big time. And then so
the modern piano was actually created based on his power.
Speaker 8 (13:00):
Okay, playing piano.
Speaker 1 (13:01):
Wow, yeah, that's awesome. I had no idea.
Speaker 8 (13:05):
Like one of his recital he broke five pianos.
Speaker 1 (13:08):
That's crazy. Have you ever broken a piano?
Speaker 6 (13:10):
I mean not in that way because we're already in
the modern time, right, Yeah, but sometimes I may break
some strings.
Speaker 9 (13:19):
By playing so hard, yeah or something, you know, but really,
but so far not I mean yeah, so god is
it's not always happened otherwise will be very interesting.
Speaker 1 (13:32):
Get a reputation, it's okay, Well, that's cool. Well that
was really really a treat. Yeah, you just played Carnegie
Halls like this week.
Speaker 5 (13:42):
Last night last night.
Speaker 6 (13:44):
Yeah, I played the interesting piece, the bar talk Piano
number three, and he was kind of in some of
the work. He's almost like a rock musician. He put
piano as a rock and roll or percassive, very heavy
percassive instrument.
Speaker 8 (14:05):
Yeah.
Speaker 6 (14:05):
So normally after you play his music, you're your fingernails
is really getting a fragile.
Speaker 8 (14:14):
Really you really you really need to cut it. Yeah,
it's the real destroyer for that.
Speaker 1 (14:24):
Okay, and how long? Like you're playing the bar Tak
piece on this whole tour?
Speaker 8 (14:30):
No, just partially, but it was with Vienna fil Harmonic.
Speaker 1 (14:35):
Wow.
Speaker 6 (14:35):
Yeah, so so they actually wanted this piece. Yeah, it's
a really really great I never played this piece before,
but I learned from this tour.
Speaker 1 (14:45):
So you're doing the whole tour with that?
Speaker 6 (14:46):
Yeah, seven concerts, but we're we're already Yeah, we're only
three left, and I do my solo pieces solo solo recital.
Speaker 1 (14:57):
Okay, great, Wow, well I'm so excited to try something together. Yeah.
I don't know.
Speaker 8 (15:05):
I really love your songs.
Speaker 6 (15:07):
Since many years since your first album that was such
a big hit to the world, and it's such a
special musical genius, genius of making it. Really, I mean,
like there's nobody who did something like that before you. So,
I mean I still remember when your first album came out.
Speaker 1 (15:28):
Wow.
Speaker 8 (15:30):
There was also a big impact on the classical music.
Speaker 6 (15:32):
Theme really, yeah, because in classical music theme that we
still like more melodic things. And then when you have
so much like new type of music that it's hard
for us to to integrate or to connect. But when
you come out, you get the every music genre, you know,
(15:54):
kind of they all understand what they were trying to do.
It was really amazing.
Speaker 1 (15:58):
Yeah, that means a lot of things. You I feel
like I just lucked out, you know, very much. So,
but yeah, I mean when you're making music, you don't
really think about the impact. I don't. You just think
about how it's making you feel at the time. So yeah,
thank you.
Speaker 10 (16:19):
Well.
Speaker 1 (16:19):
I liked the song you suggested because I feel like
it's it's an interesting place for us to meet, you know,
you suggested to me on which is on my first album.
I learned it from Nina Simone's version. Have you ever
heard that it's beautiful?
Speaker 3 (16:37):
Yeah?
Speaker 1 (16:38):
And the songwriter is J. D. Loudermilk, who wrote a
lot of old sort of more country ish country blues.
But I feel like more maybe the country genre stuff.
So it's a it's a cool choice. Yeah, yeah, yeah, yeah,
So I might play a little with you.
Speaker 6 (16:58):
Is that?
Speaker 1 (16:58):
Is that okay? Is it okay? Or no?
Speaker 8 (17:02):
Please? Please?
Speaker 6 (17:03):
Yeah?
Speaker 11 (17:25):
Lark Flower.
Speaker 5 (17:31):
Waiting to blue.
Speaker 7 (17:42):
Like a lie.
Speaker 11 (17:47):
In a dark glue.
Speaker 5 (17:56):
I'm just sitting here.
Speaker 11 (17:59):
Way please.
Speaker 5 (18:06):
To come on home.
Speaker 11 (18:10):
Term me all like the desert.
Speaker 4 (18:31):
Waiting for the word, like schookee.
Speaker 5 (18:48):
Waiting for the squeeze. I'm just sitting here wait for
you to come on home. Time me o, my poor hot.
Speaker 12 (19:35):
It's been so die, says you, says you've been long.
Speaker 5 (19:57):
After all, you're the one new turns beyond.
Speaker 11 (20:12):
You're the only.
Speaker 5 (20:13):
One cooking turn me back on.
Speaker 1 (20:26):
My high five.
Speaker 5 (20:29):
Is waiting.
Speaker 11 (20:33):
For a new tube.
Speaker 5 (20:41):
Glasses we he.
Speaker 11 (20:47):
For some fish ice cube.
Speaker 2 (20:55):
I'm just sitting here.
Speaker 5 (21:04):
To come on, turn me on, turn me up.
Speaker 7 (21:33):
Nice.
Speaker 1 (21:34):
That was fine, beautiful, thank you, that was just great work.
Oh my god, thank you. That was so wild and
fine and different. You know, when you read music like this,
do you look at the chord changes? At all or you.
Speaker 6 (21:49):
Only yeah a little bit, a little bit, yeah, yeah,
especially the second time.
Speaker 8 (21:54):
Yeah, and I get to know better.
Speaker 1 (21:56):
Yeah yeah, Okay, so you read chord changes. I can't
read music like that, it's too many notes for me
to focus on. But you can site read just yeah basically. Yeah,
you've been doing that forever, right, that's.
Speaker 6 (22:09):
What we know as a closet that you have to
do this totally.
Speaker 8 (22:13):
Yeah. Yeah, but I did learn something with the Herbie hankok.
Speaker 6 (22:19):
You know he showed me many things that how he
how he does it with the improvisation. So I did
learn something especially you know, it's the chords change and.
Speaker 1 (22:31):
Yeah, and then the scale you can use over different
chord changes. It's different, right when you think of music,
Like when you think of the list piece you played,
do you ever think of it in terms of what
key and what chords are happening?
Speaker 6 (22:48):
Yeah, I mean this least maybe less, but if it's
a Bach piece or like Beethophim, you know, you have
to think more about the counterpoint. You know, you need
to think more like a composer, like how this change,
Like which the seventh or the third? You know, which
(23:10):
chore you have to push more there's so many notes
in one passage, so you just need to highlighting the
more dissonan consonant.
Speaker 8 (23:23):
Yeah.
Speaker 6 (23:23):
So this is kind of uh special moment, like you
have to kind of pointed out without really showing in
a very obvious way, you know, but you need.
Speaker 8 (23:36):
To point that out.
Speaker 1 (23:38):
Yeah, it's just so interesting. I feel like we probably
think about music in slightly different ways, but it's still
one language, but it's also different languages somehow.
Speaker 6 (23:50):
The great things like to learn things from you is
that you know, every time you play differently, you sing differently,
and as classical music that we do have this quite
a proper score. Yeah, yeah, but every time when you're
playing it, there's always slight way to go around it.
Speaker 8 (24:13):
Otherwise it's the same.
Speaker 1 (24:14):
Yeah. So you I mean, you probably breathe with the music,
and sometimes you're breathing faster and sometimes you're breathing slower.
But do you change notes? Are you?
Speaker 6 (24:24):
We are we are not allowed to change most of
the notes, only in some kind of like cadenza part slightly,
but normally I mean, I mean if I change something
from Beethoven, he will jump out in the you know,
in my dreams, you know, will never have.
Speaker 8 (24:42):
A good dream anymore exactly.
Speaker 6 (24:46):
Yeah, but we do need to to find a way
to do slightly different every time.
Speaker 1 (24:52):
Yeah.
Speaker 8 (24:52):
So yeah, but that's that's the same spirit.
Speaker 1 (24:56):
Yeah, because you have such a personality when you play
right and it's strong, you know.
Speaker 6 (25:02):
So, I mean I think the world and the one
and every pianist sound the same exactly.
Speaker 1 (25:08):
Yeah, you have to do something well.
Speaker 5 (25:09):
I think.
Speaker 1 (25:10):
I think when you break through and what appeals to
people is your specific personality. And that's across the board
for music, I think, and any art.
Speaker 8 (25:20):
You know, any art form.
Speaker 6 (25:21):
Yeah, yeah, you have to be respectful, but you have
to bring something that you are kind of your special
kind of style or something.
Speaker 3 (25:35):
Yeah.
Speaker 8 (25:36):
People are actually looking for that.
Speaker 1 (25:38):
Yeah, I agree. Yeah, it's beautiful. You do all kinds
of things. You have the foundation, yes, can you tell us.
Speaker 8 (25:46):
A little bit, Yes, we have.
Speaker 6 (25:48):
It's a foundation called the lung Lan International Music Foundation,
and our aim is to nurturing the society and in
different underprivileged areas to learn classical music, to learn piano.
And what we do is to bring twenty to thirty
smart keyboards into the schools.
Speaker 1 (26:11):
That's amazing.
Speaker 6 (26:11):
Yeah, and then we build our own method and also
very important thing is that we don't want music only
as what do you call the outreage.
Speaker 8 (26:23):
Program or after school program.
Speaker 6 (26:25):
We want to be integrated as the part of the
curriculum the school and so all the schools that we're
working with that we are actually bringing music education back
to the yeah, to the school system actually, so that's
what we are trying to do. And so you learn piano,
but in the same time learning how to write a song.
(26:49):
Many of them actually they don't want to become a pianist.
They want to become a soundwriter or movie composer. Some
maybe some some kids do like to become a professional pianist,
but it's more music in general, but using piano.
Speaker 1 (27:08):
Okay, Well it's all laid out, yeah, so it's easy
to see. It's a great starting instrument.
Speaker 7 (27:14):
Yeah.
Speaker 6 (27:14):
The problem in the past is that in the the
elementary schools you have maybe just one piano in the
big class, right, but now we have like twenty to
thirty keyboards, so you can't Actually everyone can play.
Speaker 1 (27:29):
That's amazing. Yeah, that's so great.
Speaker 6 (27:31):
Where was the first The first school we were in Boston,
the Boston Public Art School. They didn't have a music class.
They only had an art class, okay. And then we
went to Harlem. We did a five schools there. Yeah,
and then some party in New Jersey and now we
(27:52):
have a we have a more than one hundred schools
in the US. Wow, more than one hundred schools. See
in China and Europe were having like twenty schools.
Speaker 1 (28:03):
That's amazing. That's really beautiful.
Speaker 8 (28:05):
Thank you.
Speaker 1 (28:06):
Yeah, I think that's amazing. Did you where did you
grow up?
Speaker 6 (28:10):
I grew up in China in a very industrial city
in the northeast called Shinyang.
Speaker 8 (28:18):
Yeah.
Speaker 6 (28:19):
But the good news was we had a conservatory in
that city and doing the early nineties when I was
very young, and they had many like international kind of
a piano festivals. Wow, there were a lot of One
of our professors went to my home city to teach
(28:43):
and I had I had an amazing teacher. She came
from Shanghai.
Speaker 8 (28:48):
So and then.
Speaker 6 (28:51):
At the age of nine, I moved to Beijing to
the Central Consul to get serious. This is like how
you know how this kind of the system with the conservatory, right,
so you'll start quite And then I went to America
(29:11):
at the age of fourteen.
Speaker 13 (29:13):
Oh.
Speaker 6 (29:13):
Wow, there's great school in Philadelphia called the Curtisitute.
Speaker 1 (29:18):
Yeah.
Speaker 6 (29:18):
Yeah, yeah, so that's how how I Yeah so yeah,
I spent my childhood in China and then as a
teenager moved to the US to keep studying.
Speaker 1 (29:30):
Yeah that's amazing. But you were quite young when you
got serious. So your school system do you remember being little?
You didn't learn it in school at all.
Speaker 6 (29:40):
I did learn the regular music knowledge you had music
in school, yeah, which was good. But then, of course,
very quickly I went to the consula three.
Speaker 1 (29:50):
Yeah, so skid down the business. Yeah.
Speaker 8 (29:54):
Yeah.
Speaker 6 (29:55):
Then then it's very good because it's very professional way
the training yeah wow, really focused on the performance, which
is quite important because if you're only in training for
the theory, which is good, but then you're a little
bit behind of the techniques. Yeah, so this has to
be balanced. Yeah, so that's why the conservatory systems quite
(30:20):
good for for your early kind of professional training.
Speaker 1 (30:26):
Yeah. It sounds like a wild wild ride, but it's.
Speaker 6 (30:32):
Really I mean it's very busy, you know, yeah, just
not enough playing time.
Speaker 8 (30:38):
You know, got other fun fun.
Speaker 1 (30:40):
Times like the book camp.
Speaker 8 (30:43):
A lot of a lot.
Speaker 6 (30:44):
Of serious practice six hours a day, that's insane.
Speaker 1 (30:47):
Yeah wow, yeah, yeah that seems like a lot, but
you love it and.
Speaker 6 (30:53):
Part of you, you know, I mean the majority of
time I loved it, but sometimes you know, also as
a kid, just yeah, I don't want to practice anymore.
Speaker 1 (31:02):
Yeah, I mean, that's why I remember wanting to quit
as soon as I started taking piano lessons because I
didn't want to practice so much. It seemed like a lot. Yeah,
that's why I could never be a classical pianist. I
don't practice enough. But yeah, you know, when I was young,
I learned. I ended up taking piano at aol at
(31:25):
a community college in Texas, and they made you take
two classes a week. One was your private lesson and
one was theory. And we had wurlitzers like this in
the room. We had twelve worlitzers set up and everyone
was learning theory. And it came up on some kind
of It wasn't a computer, but it must have been
computerized somehow, but it was very old school analog on
(31:47):
a screen what notes you were playing and had a Yeah,
it was a very cool way to learn. And I
remember being I went to an arts magnet high school
and then I went to college for music. So they
made us theory in high school and then college, and
I was like, I did this when I was in
second grade. I started learning all this, so you know,
it was actually I realized how lucky I was to
(32:09):
learn that so young. I had no idea at the time.
Speaker 6 (32:12):
So that's how you built up the composation skills, right.
Speaker 1 (32:16):
Yeah, well I learned. Yeah, I mean the theory was
so good because you learn, you know, instead of thinking
of of music like B flat F E flat. I
mean I I do think of it like that, but
I also think one five, four minor two minor six.
You know, I can think like that and then I
(32:38):
can transpose. I feel like that'll help me with that.
It's interesting. So that's how I think of music is
in almost like in terms of just the numbers and
the chord quality. Right yeah, so there there's no wrong
way to eat e reesis.
Speaker 8 (32:56):
That's why I'm not a composer.
Speaker 1 (32:58):
Oh, I'm sure you could be. I mean, you must
hear music when you're sleeping. That isn't real yet, right.
Speaker 6 (33:05):
The thing is like for me, there's so many great
classical repertoire.
Speaker 1 (33:10):
Yeah, and then.
Speaker 6 (33:12):
In a way that we are so spoiled. Yeah, the
things like never finished practicing those.
Speaker 1 (33:17):
That's true. You feel like you have to get to
the end of it before you start composing. I don't
think so. That's interesting.
Speaker 6 (33:25):
Yeah, but if I have your talent, I probably will
practice less and I'll compose more.
Speaker 1 (33:30):
Oh, I think you have my talent plus a million.
I think it's just interesting, like the different avenues we
all come from, you know, and.
Speaker 6 (33:38):
It's all come from the the laveful piano, right, that's yeah.
Speaker 8 (33:42):
This is your first instrument, right.
Speaker 1 (33:44):
I sang first.
Speaker 7 (33:46):
Yeah.
Speaker 1 (33:47):
There was a long time though in my twenties, after
my first album came out, where I sort of I
didn't want to. I had a hard time composing on
piano in the beginning, Oh, writing songs, Yeah, I because
I feel like it didn't sound the way I wanted
it to sound. It sounded very simple, you know, on
the piano, but if you play a simple court on
the guitar, it's easier to come up with a melody
(34:09):
over somehow. So I started writing more on guitar first,
But now I write on piano. I had to simplify
myself sort of, you know, at the piano. But I
don't know, do you like the.
Speaker 6 (34:23):
Travel, Yeah, it's it's okay, but if you always on
the tour, always on the road.
Speaker 8 (34:28):
It's not very nice.
Speaker 6 (34:30):
No, it's just it's kind of not because not normal
something right, you're leaving in another world or.
Speaker 1 (34:40):
In a hotel.
Speaker 6 (34:43):
So when I'm off tour, I just I just want
to go home. So people ask me, I do want
to wake? I don't want I need vacage. I just
want to stay at home.
Speaker 1 (34:52):
It is hard a vacation. When you tour a lot,
you don't want to get on a plane and go to.
Speaker 8 (35:00):
I get you for another hotel room stay.
Speaker 1 (35:03):
Also, you it feels a little more solitary because you're
either playing solo or with an orchestra. For me, I
have a band and a crew that I travel with
and so we get to hang out so be on tour. Yeah,
it can be hard, but it's pretty fun because you
have your core people that you choose right and usually.
Speaker 8 (35:23):
Much more fun. Yeah, I would say it's.
Speaker 1 (35:25):
I wouldn't do it if I hated the people I
traveled with. It probably, but yeah, to be that solitary
seems difficult.
Speaker 6 (35:33):
Yeah, yeah, for us it's it's not always the same
people though. It's like, yeah, maybe only only in an
our two people that you travel with. Yeah, but then
it's always different. Yeah yeah, and you just play by ourselves.
Speaker 1 (35:50):
Yeah, that's tricky unless you're very outgoing, right.
Speaker 8 (35:55):
I realized my friend, Yeah, that would be hard.
Speaker 1 (35:59):
Yeah, all right, Well what do you think about this song?
Speaker 5 (36:04):
Yeah?
Speaker 8 (36:05):
Club?
Speaker 1 (36:06):
Do you know this song?
Speaker 8 (36:07):
This one? I don't know as your son?
Speaker 1 (36:11):
You know, Yeah, it just came out as an idea,
but we don't have to do it, but I'd be
happy to do. What do you say? Yeah, of course
I've never done it either, so I thought this.
Speaker 14 (36:24):
No.
Speaker 1 (36:25):
I was only trying to think of something wild to
do together, and somehow this song Pink Pony Club came up,
and I love the piano on it, and I just
kind of thought it would be fun.
Speaker 8 (36:36):
It's a lot of sharps.
Speaker 1 (36:40):
Yet, how do you feel about that? I?
Speaker 8 (36:43):
Okay, it's just read. It gives a kind of drive,
certain drive have more.
Speaker 1 (36:51):
It's a rare key I feel for people to play,
especially with the piano, and.
Speaker 8 (36:56):
You can this makes you count more exactly.
Speaker 6 (37:00):
I actually did prepare a little bit on the stage
off Carnegie Hall.
Speaker 1 (37:04):
You did not.
Speaker 8 (37:09):
Try to try to get that?
Speaker 1 (37:12):
Did anybody know what you were doing?
Speaker 6 (37:14):
Does anybody say they were they were busy setting up.
Speaker 1 (37:18):
I love it. That's incredible. Well, we could do it
a few times. I've never done it before. I'm excited
to try it.
Speaker 5 (37:44):
I know.
Speaker 10 (37:46):
You wanted me to stay, but I can't ignore the
crazy visions love me and.
Speaker 15 (37:54):
I that there's a special place boys and girls can
all be queens. Every single day, I'm having wicked trees
of leaving Tennessee.
Speaker 5 (38:14):
It's sat a minor cop. I swear it's calling me.
Won'ta make my mom proud?
Speaker 15 (38:23):
It's gonna cause a seed she sees her baby girl.
Speaker 5 (38:28):
I know she's gonna scream.
Speaker 11 (38:31):
God, what have you time?
Speaker 2 (38:35):
You're a Pink Pony girl and you dance at the club.
Speaker 11 (38:39):
Oh mama, just having fun on the stage.
Speaker 4 (38:46):
In my head, it's wear are.
Speaker 16 (38:49):
Belong down at the Pink Pony Club. I wanna keep
on lancing at the Pink Pony Club.
Speaker 13 (39:00):
I gotta keep on dancing. Then in the West Hollywood,
I gotta keep my dancing.
Speaker 16 (39:08):
Let the Pick Pony cor Pick Pony Club.
Speaker 5 (39:17):
Who I'm a.
Speaker 11 (39:26):
And Charles are on the floor.
Speaker 1 (39:29):
Bathers in the bathroom and a light outside the.
Speaker 17 (39:33):
Door, black lines and am just go ball each night.
Another reasons why I left it all.
Speaker 18 (39:45):
I think my wicked dreams from Tennessee.
Speaker 1 (39:51):
Oh Santa Mina curve, you've been too good to me.
Speaker 11 (39:56):
Won't make my mama crow. It's gonna a scene.
Speaker 18 (40:01):
She sees her baby girl and know she's gonna swim.
Speaker 11 (40:08):
Why haven't done? You're a pink pony girl? Can you
dance at the club now?
Speaker 13 (40:15):
Mom?
Speaker 11 (40:18):
It's just televin fun on the stage in my hand.
So I swear up be long down at.
Speaker 16 (40:27):
The Pink Bonny Cloth. I'm gonna keep on dancing at
the Pig Pony Club.
Speaker 13 (40:36):
I'm gonna keep on dancing down in West Harry Wall.
I'm gonna keep on dancing at the Pink pony Cloth.
Speaker 14 (40:46):
Pink Pony Club. Don't take I've left you all behind.
Speaker 5 (41:10):
Still love you in Tennessee. You're always on my mind.
Speaker 11 (41:20):
And my love. Every Saturday.
Speaker 18 (41:27):
I can hear your Southern draw a thousand miles aways say, God.
Speaker 11 (41:39):
I have you die.
Speaker 14 (41:41):
You're a pick pony girl and you dance out.
Speaker 11 (41:45):
The co No, Mama, just having fun and stating my head.
Speaker 14 (41:55):
It's where I belong down.
Speaker 5 (41:58):
Ut Hoy Club.
Speaker 16 (42:02):
I'm gonna keep hound dancing at the Pink Holdy Club.
I'm gonna keep on dancing down in West Hall. You would,
I'm gonna keep on dancing, have the Pink Hoony Club,
Pink ho Club.
Speaker 13 (42:25):
I'm gonna keep on dancing and have the pink Holly Co.
Speaker 16 (42:31):
I'm gonna keep on dancing down head West Holly Wod.
Speaker 11 (42:36):
I'm gonna keep on dancing, have.
Speaker 13 (42:39):
A pink holok ho Co'm gonna keep on Dy'm gonna lession.
Speaker 5 (43:14):
That was so fun.
Speaker 12 (43:16):
Oh my god, that was like that gave me chills.
Speaker 1 (43:20):
That was so fun you playing that song? Oh my god,
how was that for you? I thought it was great.
I just love this song so much, and it's you
have this, you.
Speaker 8 (43:35):
Have this ongoingness.
Speaker 1 (43:38):
It never stopped, It never stops. It's very cyclical, right,
the chords and then the lyrics. I mean, it's such
a deep story this this lyric, and I just find
it so striking and beautiful and sad but also empowering
and like it's like all these things wrapped up. And
(44:01):
you know when a song just tells a story in
three minutes and thirty seconds or however long.
Speaker 6 (44:06):
It is, this song has a lot of visual Yeah,
when you play you can feel.
Speaker 8 (44:11):
There's a lot of things like you can really sense.
Speaker 1 (44:14):
Yeah, yeah, I just love it. I love that you
were up for doing it. I would never be able
to do this song normally. I mean it's such a
huge song and you know it doesn't need me to
sing it. But doing it together was so fun and
I love Chapel Roane's voice, so it was hard for
me not to go. Yeah, but yeah, thanks for playing
(44:37):
that with me. Yeah. So your Piano Book two is
out now. It's an album.
Speaker 6 (44:45):
Yes, it's an album with the thirty two miniature of
masterful pieces from Chopin's nocturn to rock Mino Purdue Beto
m variations and also to UH sounds like Markni parad
orla oh cool. Yeah, and even some uh Japanese. There's
(45:13):
so much we have a like trying to get all
sort of a piano music, and also some new compositions
from today's composer like Tony and e.
Speaker 8 (45:26):
Charas is very cool.
Speaker 1 (45:28):
Piece, amazing. Yeah, there must be so so much to explore.
Speaker 6 (45:33):
Right, Yeah, this is the good thing about piano that
this is it doesn't need to be long pieces, but somehow,
whether the it's Mozart round or a Bach Predude or
something from House Zimmer or something. It's always there's always
some sort of connected.
Speaker 1 (45:53):
Ideas behind Yeah, I love it. Yeah, well, this has
been a joy.
Speaker 8 (45:59):
Thank you, Thank.
Speaker 6 (46:00):
You to come here and to feel your great voice
and feelings.
Speaker 8 (46:06):
You know, and this is very intimate.
Speaker 5 (46:08):
It is very intimate.
Speaker 1 (46:09):
It's not for everyone. Yeah, I'm just staring at you. Well,
thank you for playing my piano. Yeah, I'm playing with me.
It was great. You were the perfect guests. Amazing experience,
so fun. Yeah, how are we? I'm like the screen
(46:30):
is black. Oh yeah, we wanted okay, we did have
one last thing. We just wanted you to do the
orange trick. I was actually thinking you could almost do
it on Pink Pony Club, right, because it's a black notes.
Speaker 5 (47:01):
I love that.
Speaker 6 (47:04):
The good thing about the orange is that you can
go yeah yeah, but it's also can be pretty precise.
Speaker 1 (47:13):
Yeah, because it's just one little spot.
Speaker 8 (47:15):
Yeah, it's much easier than banana.
Speaker 1 (47:17):
Yeah.
Speaker 8 (47:19):
I tried in different fruit. Was not so bad.
Speaker 1 (47:25):
It gets bruised too easily.
Speaker 6 (47:26):
Right, this is the best, really, orange just really by
far the best instrument.
Speaker 1 (47:32):
You have to tell me how you came up with it?
Speaker 6 (47:34):
Okay, So this was Actually it's not my invention. It's
somebody who I love so much, great pianist and conductor
Daniel Barramore. And he's a very serious musician, and so
he always gives me a very serious piano lessons. So
I'm always quite actually nervous when he's teaching me. So
(47:57):
then we had this long session, very serious Shroberts or not,
you know. So, and then he went back to the kitchen.
I thought he's gonna to eat some some orange to.
Speaker 8 (48:10):
To, you know, to get more metamins or something.
Speaker 6 (48:12):
So so he came out. He said, do you know
how to play chopin Black key Istude? You know this
is the piece which is uh everything from the Blackie
And I played this piece so much as a kid
(48:34):
to practice to get into the Consoler three.
Speaker 8 (48:37):
And I said, of course.
Speaker 17 (48:38):
I know that.
Speaker 8 (48:39):
So I started playing. He had so bad I happened.
Speaker 6 (48:44):
I was like, I couldn't even play this piece after
so many hours of practice.
Speaker 5 (48:49):
He said, let me show you.
Speaker 1 (48:56):
That's hilarious.
Speaker 8 (48:57):
Yeah, I used from this such a serious musician. Yeah,
comes incredible, hilarious.
Speaker 1 (49:05):
That's a very long joke.
Speaker 5 (49:08):
Oh okay, I got it.
Speaker 1 (49:10):
That's great.
Speaker 8 (49:11):
So I learned.
Speaker 6 (49:12):
Really a big deal and then I show you everywhere.
That's so fun at some point, but not recently.
Speaker 1 (49:18):
Yeah, well thanks for hearing.
Speaker 8 (49:20):
So I see that Orange, I know what to do.
Speaker 1 (49:23):
You see you know exactly what we're going to ask
you to do. Yeah, awesome, cool, Yay, that was awesome.
It was incredible. I've wanted to sing Pink Pony Club
forever and I think if I went to do karaoke,
that's probably what I would choose.
Speaker 3 (49:38):
And no big deal that he was practicing that at
Carnegie Hall the night before.
Speaker 1 (49:41):
Oh yeah, I love that.
Speaker 5 (49:43):
It's hilarious. He practiced it, sounds amazing.
Speaker 1 (49:50):
He's great and I had so much fun doing that. Okay,
I'm going to say this as best as I can.
But the first song he performed was called Consolations, A
one seventy two number two in E Major Un Poco
Pui Mosso Composer Friends List, performed and recorded by Langlan
(50:10):
from Piano Book two, which was released in twenty twenty five.
The second song we did was Turn Me On. I
recorded that on my first album and it's a J. D.
Loudermilk song and it's also very well known for being
a song that Nina Simone did. The third song we
did was Pink Phony Club by Chapel Roon from the
Rise and Fall of a Midwest Princess, released in twenty
(50:33):
twenty three. Love that song special, Thanks so long long
for joining us today. We'll be back next week with
arujaf Tab. Norah Jones is playing along as a production
of iHeart Podcasts. Visit Nora Jones channel and be sure
to subscribe while you're there. I'm your host, Hora Jones.
I'm your host, Nora Jones. I'm your host, Nora Jones.
(50:57):
Recorded by Matt Marinelli, mixed by Jamie Le Audio, post
production and mastering by Greg Tobler. Artwork by Eliza Fry,
Photography by Shervin Linez. Produced by Norah Jones and Sarah Ota.
Executive producers Aaron won Kaufman and Jordan Rundag. Marketing lead
Alison Kantri Graber. Serious side effects include a happy heart.
Thanks for joining us.
This episode is also available as video on YouTube. You
can visit Nora Jones channel and be sure to subscribe
while you're there. Hey, I'm Norah Jones and today I'm
playing along with Long Long.
Speaker 2 (00:12):
I'm just playing Long, I'm just playing Long Wey.
Speaker 3 (00:26):
I'm Nora and this is Sarah Odelcome to our show,
Playing along, Playing Along Long. Our guest today is an
internationally acclaimed pianist, one of the most recognizable classical musicians
in the world. Yes, Long Long, He's played everywhere from
Carnegie Hall to Royal Albert Hall, to right here and
to right here, right here, and with also the world's
(00:47):
greatest orchestras to write here and then back to here.
Speaker 1 (00:51):
He played my piano.
Speaker 3 (00:54):
He's really introduced classical music to a whole new generation.
Speaker 1 (00:58):
He's incredible. He's incredible. I mean he sat here and
played this piano for me when we first start the episode.
You'll hear it. It's so beautiful. Yeah, and he's also
just so cool and easy to hang with and talk to.
He's really just a special human.
Speaker 3 (01:13):
I think, gosh, yeah, you will hear the first, like
you said, the first classical, truly classical piece that we've
done on this show sol a piano piece from the
eighteen hundreds. Yeah, and it'll just make you cry.
Speaker 1 (01:25):
It's so beautiful that just everything he does, and we
do a pretty special cover.
Speaker 3 (01:30):
Yes, you might be surprised by the song that you
and Long Lung chose to take on, but grab your
pink cowboy hats and stay tuned.
Speaker 4 (01:40):
Wait and give it away?
Speaker 5 (01:42):
Oh does it?
Speaker 1 (01:43):
I don't know. Well, anyway, this is a really fun one.
I hope you enjoy the episode with Long Long. All right,
well yeah, I can't wait to hear you play my right, Okay.
Speaker 6 (01:56):
So let me play the romantic composer France list Consolation
number number two.
Speaker 1 (02:07):
Okay in England.
Speaker 7 (04:24):
After after, I'm gonna cry.
Speaker 1 (05:37):
It's so beautiful. Thank you, thank you, thank you.
Speaker 8 (05:41):
I mean to play in your studio. It's very inspirational.
Speaker 1 (05:44):
Oh good, I was gonna say you. It feels so
physical watching you play. You're very physical. You're in the
music in a way.
Speaker 6 (05:54):
That I mean, you know the things for me and
piano unlike vallein or any other instrument, you can grab it,
you can, you know, you can play with it. But unfortunately,
you know, we actually have to go into the pianos
in order to have that complete connection. That's what I believe,
(06:17):
and so so that's why we have to go into
the piano as a pianist.
Speaker 1 (06:20):
It feels totally connected, like you and my piano or
now what, thanks for playing it? What? What did you think?
What do you How would you describe this piano and
the personality. Do you feel like all pianos have sort
of their own personal.
Speaker 6 (06:35):
I believe every piano, every instrument, has their own kind
of character. And what do you have is a beautiful
sounded piano with a lot of substance, and it has
this very lyrical a little bit more to the kind
of darker sound. But I really love it because it's
(06:57):
really shows the depth of.
Speaker 8 (07:00):
The instrument and you can go really into it.
Speaker 1 (07:04):
Yeah, yeah, it's cool.
Speaker 6 (07:07):
It's so interesting to feel that this piano fits your
voice very well.
Speaker 1 (07:12):
Yeah it does. I had a hard time finding a piano.
I think I bought this twenty five years ago maybe, yeah,
And I'm very specifically. It was hard for me to
find one that I felt connected to because I have
a problem with very bright sounding pianos. But yeah, I
(07:34):
love this piano.
Speaker 8 (07:36):
It's great choice and girl, beautiful.
Speaker 1 (07:39):
You got the nicest legs of any piano I've ever seen.
They're carved, They're so really really handcrafted. Yeah, when you tour,
do you have do you play? Because you play concert
halls a lot, do you play? What is there? Do
you have your own money?
Speaker 6 (07:57):
I used their pianos, you know, very special occasions. Sometimes
I take some pianos that I chose. And normally every
concert hall has a very good piano, and specially the
good Stammy there, and and they also have a great
technician that you can work with. So even the piano
(08:20):
is not up to your level, you can basically let
him or her to make it to the level you want.
Speaker 1 (08:27):
Okay, yeah, yeah. And when you travel do you stay
you stay in hotels? Do you have a piano ever
in your hotel?
Speaker 5 (08:38):
Yes?
Speaker 6 (08:39):
Normally Stammy provide an upright piano in my hotel rooms,
and then we try to find a room which is
not not in the middle of the hotel on the
edge so that I can I can practice or finding
the next door is like one of my friends, of
my relatives, so when they tour with me, so then
(09:02):
nobody going to complain.
Speaker 8 (09:06):
I'm trying to do.
Speaker 7 (09:07):
Yeah.
Speaker 1 (09:07):
Yeah, And do you ever play in the middle of
the night.
Speaker 8 (09:09):
Are you trying to If I do it, I will
play very soft.
Speaker 6 (09:13):
Yeah, so I will not play something evening exactly.
Speaker 1 (09:18):
I also noticed that you use the soft pedal a lot.
I do too, And someone told me once that they
were like surprised because not everybody in my field uses
it quite as much or something. I don't really know.
I've never noticed anybody using it like that. That's but
I noticed you using it a lot, up and down
(09:38):
and up and down.
Speaker 8 (09:39):
Yeah.
Speaker 1 (09:40):
Yeah.
Speaker 6 (09:40):
For a classical repertoire, especially romantic repertoire, that they need
always kind of change of colors and the range of
the subtleness of the soft, like the sweet soft or
a little bit hard soft or more saddenings. So the
left pedal make quite a quick difference.
Speaker 1 (10:03):
Yeah.
Speaker 6 (10:03):
Yeah, it doesn't make a huge difference, but when you
push down, it reacts very fast, so in a way
that you can hear a quick react.
Speaker 1 (10:17):
Do you think it's consistent or every piano has a
different level of the soft pedal.
Speaker 6 (10:22):
Some piano maybe has a little deeper softness, yeah, but
regularly it's similar. Yeah, Because the theory is that when
you push down and then there's one one of the strings,
one of the three or one of the two get muted,
so that's automatically become less or softer.
Speaker 1 (10:47):
Yeh yeah, just less. Sound awesome. That was so pretty.
Do you know what year that piece was written.
Speaker 6 (10:56):
Around during the Romantic era on the nineteen century. I
don't know exactly which year, but he wrote three of
the consolation so beautiful and one is more beautiful than
the others, really beautiful.
Speaker 1 (11:12):
It was so beautiful, and it had so many elements
of you know, modern Gershwin or you know, it reminded me.
It had the dominant seven chord and all the things
that came later.
Speaker 6 (11:26):
At least was the basically the king of piano. Like
most of the the great pianists after him, was his
students or influenced by him.
Speaker 8 (11:36):
So it was a great line.
Speaker 6 (11:39):
And then his music was also very popular. He was
kind of like the rock star and at his time. Okay, yeah,
so that's why I think like Gershwin or the later
great musicians took some ideas from him. And this guy
also invented the piano recital. Really, he's the first one
made pianiano become a purer solo instrument rather than a
(12:05):
collaborative instrument.
Speaker 1 (12:07):
I didn't know that.
Speaker 7 (12:08):
Yeah.
Speaker 6 (12:08):
So he's like and he he's the first person who
kind of started as a piano solo recital and management,
you know, the whole music.
Speaker 8 (12:20):
Career profession he created basically.
Speaker 6 (12:25):
So this guy was lable woe and he lived very
long also and yeah, so he played entire of his
life and just keep composed, teaching, and it was really
important for the piano. And also the one very interesting thing.
He's so powerful and he always destroyed pianos really, so
(12:47):
he made piano much stronger, yeah, because he would beat
them up, beat them up big time. And then so
the modern piano was actually created based on his power.
Speaker 8 (13:00):
Okay, playing piano.
Speaker 1 (13:01):
Wow, yeah, that's awesome. I had no idea.
Speaker 8 (13:05):
Like one of his recital he broke five pianos.
Speaker 1 (13:08):
That's crazy. Have you ever broken a piano?
Speaker 6 (13:10):
I mean not in that way because we're already in
the modern time, right, Yeah, but sometimes I may break
some strings.
Speaker 9 (13:19):
By playing so hard, yeah or something, you know, but really,
but so far not I mean yeah, so god is
it's not always happened otherwise will be very interesting.
Speaker 1 (13:32):
Get a reputation, it's okay, Well, that's cool. Well that
was really really a treat. Yeah, you just played Carnegie
Halls like this week.
Speaker 5 (13:42):
Last night last night.
Speaker 6 (13:44):
Yeah, I played the interesting piece, the bar talk Piano
number three, and he was kind of in some of
the work. He's almost like a rock musician. He put
piano as a rock and roll or percassive, very heavy
percassive instrument.
Speaker 8 (14:05):
Yeah.
Speaker 6 (14:05):
So normally after you play his music, you're your fingernails
is really getting a fragile.
Speaker 8 (14:14):
Really you really you really need to cut it. Yeah,
it's the real destroyer for that.
Speaker 1 (14:24):
Okay, and how long? Like you're playing the bar Tak
piece on this whole tour?
Speaker 8 (14:30):
No, just partially, but it was with Vienna fil Harmonic.
Speaker 1 (14:35):
Wow.
Speaker 6 (14:35):
Yeah, so so they actually wanted this piece. Yeah, it's
a really really great I never played this piece before,
but I learned from this tour.
Speaker 1 (14:45):
So you're doing the whole tour with that?
Speaker 6 (14:46):
Yeah, seven concerts, but we're we're already Yeah, we're only
three left, and I do my solo pieces solo solo recital.
Speaker 1 (14:57):
Okay, great, Wow, well I'm so excited to try something together. Yeah.
I don't know.
Speaker 8 (15:05):
I really love your songs.
Speaker 6 (15:07):
Since many years since your first album that was such
a big hit to the world, and it's such a
special musical genius, genius of making it. Really, I mean,
like there's nobody who did something like that before you. So,
I mean I still remember when your first album came out.
Speaker 1 (15:28):
Wow.
Speaker 8 (15:30):
There was also a big impact on the classical music.
Speaker 6 (15:32):
Theme really, yeah, because in classical music theme that we
still like more melodic things. And then when you have
so much like new type of music that it's hard
for us to to integrate or to connect. But when
you come out, you get the every music genre, you know,
(15:54):
kind of they all understand what they were trying to do.
It was really amazing.
Speaker 1 (15:58):
Yeah, that means a lot of things. You I feel
like I just lucked out, you know, very much. So,
but yeah, I mean when you're making music, you don't
really think about the impact. I don't. You just think
about how it's making you feel at the time. So yeah,
thank you.
Speaker 10 (16:19):
Well.
Speaker 1 (16:19):
I liked the song you suggested because I feel like
it's it's an interesting place for us to meet, you know,
you suggested to me on which is on my first album.
I learned it from Nina Simone's version. Have you ever
heard that it's beautiful?
Speaker 3 (16:37):
Yeah?
Speaker 1 (16:38):
And the songwriter is J. D. Loudermilk, who wrote a
lot of old sort of more country ish country blues.
But I feel like more maybe the country genre stuff.
So it's a it's a cool choice. Yeah, yeah, yeah, yeah,
So I might play a little with you.
Speaker 6 (16:58):
Is that?
Speaker 1 (16:58):
Is that okay? Is it okay? Or no?
Speaker 8 (17:02):
Please? Please?
Speaker 6 (17:03):
Yeah?
Speaker 11 (17:25):
Lark Flower.
Speaker 5 (17:31):
Waiting to blue.
Speaker 7 (17:42):
Like a lie.
Speaker 11 (17:47):
In a dark glue.
Speaker 5 (17:56):
I'm just sitting here.
Speaker 11 (17:59):
Way please.
Speaker 5 (18:06):
To come on home.
Speaker 11 (18:10):
Term me all like the desert.
Speaker 4 (18:31):
Waiting for the word, like schookee.
Speaker 5 (18:48):
Waiting for the squeeze. I'm just sitting here wait for
you to come on home. Time me o, my poor hot.
Speaker 12 (19:35):
It's been so die, says you, says you've been long.
Speaker 5 (19:57):
After all, you're the one new turns beyond.
Speaker 11 (20:12):
You're the only.
Speaker 5 (20:13):
One cooking turn me back on.
Speaker 1 (20:26):
My high five.
Speaker 5 (20:29):
Is waiting.
Speaker 11 (20:33):
For a new tube.
Speaker 5 (20:41):
Glasses we he.
Speaker 11 (20:47):
For some fish ice cube.
Speaker 2 (20:55):
I'm just sitting here.
Speaker 5 (21:04):
To come on, turn me on, turn me up.
Speaker 7 (21:33):
Nice.
Speaker 1 (21:34):
That was fine, beautiful, thank you, that was just great work.
Oh my god, thank you. That was so wild and
fine and different. You know, when you read music like this,
do you look at the chord changes? At all or you.
Speaker 6 (21:49):
Only yeah a little bit, a little bit, yeah, yeah,
especially the second time.
Speaker 8 (21:54):
Yeah, and I get to know better.
Speaker 1 (21:56):
Yeah yeah, Okay, so you read chord changes. I can't
read music like that, it's too many notes for me
to focus on. But you can site read just yeah basically. Yeah,
you've been doing that forever, right, that's.
Speaker 6 (22:09):
What we know as a closet that you have to
do this totally.
Speaker 8 (22:13):
Yeah. Yeah, but I did learn something with the Herbie hankok.
Speaker 6 (22:19):
You know he showed me many things that how he
how he does it with the improvisation. So I did
learn something especially you know, it's the chords change and.
Speaker 1 (22:31):
Yeah, and then the scale you can use over different
chord changes. It's different, right when you think of music,
Like when you think of the list piece you played,
do you ever think of it in terms of what
key and what chords are happening?
Speaker 6 (22:48):
Yeah, I mean this least maybe less, but if it's
a Bach piece or like Beethophim, you know, you have
to think more about the counterpoint. You know, you need
to think more like a composer, like how this change,
Like which the seventh or the third? You know, which
(23:10):
chore you have to push more there's so many notes
in one passage, so you just need to highlighting the
more dissonan consonant.
Speaker 8 (23:23):
Yeah.
Speaker 6 (23:23):
So this is kind of uh special moment, like you
have to kind of pointed out without really showing in
a very obvious way, you know, but you need.
Speaker 8 (23:36):
To point that out.
Speaker 1 (23:38):
Yeah, it's just so interesting. I feel like we probably
think about music in slightly different ways, but it's still
one language, but it's also different languages somehow.
Speaker 6 (23:50):
The great things like to learn things from you is
that you know, every time you play differently, you sing differently,
and as classical music that we do have this quite
a proper score. Yeah, yeah, but every time when you're
playing it, there's always slight way to go around it.
Speaker 8 (24:13):
Otherwise it's the same.
Speaker 1 (24:14):
Yeah. So you I mean, you probably breathe with the music,
and sometimes you're breathing faster and sometimes you're breathing slower.
But do you change notes? Are you?
Speaker 6 (24:24):
We are we are not allowed to change most of
the notes, only in some kind of like cadenza part slightly,
but normally I mean, I mean if I change something
from Beethoven, he will jump out in the you know,
in my dreams, you know, will never have.
Speaker 8 (24:42):
A good dream anymore exactly.
Speaker 6 (24:46):
Yeah, but we do need to to find a way
to do slightly different every time.
Speaker 1 (24:52):
Yeah.
Speaker 8 (24:52):
So yeah, but that's that's the same spirit.
Speaker 1 (24:56):
Yeah, because you have such a personality when you play
right and it's strong, you know.
Speaker 6 (25:02):
So, I mean I think the world and the one
and every pianist sound the same exactly.
Speaker 1 (25:08):
Yeah, you have to do something well.
Speaker 5 (25:09):
I think.
Speaker 1 (25:10):
I think when you break through and what appeals to
people is your specific personality. And that's across the board
for music, I think, and any art.
Speaker 8 (25:20):
You know, any art form.
Speaker 6 (25:21):
Yeah, yeah, you have to be respectful, but you have
to bring something that you are kind of your special
kind of style or something.
Speaker 3 (25:35):
Yeah.
Speaker 8 (25:36):
People are actually looking for that.
Speaker 1 (25:38):
Yeah, I agree. Yeah, it's beautiful. You do all kinds
of things. You have the foundation, yes, can you tell us.
Speaker 8 (25:46):
A little bit, Yes, we have.
Speaker 6 (25:48):
It's a foundation called the lung Lan International Music Foundation,
and our aim is to nurturing the society and in
different underprivileged areas to learn classical music, to learn piano.
And what we do is to bring twenty to thirty
smart keyboards into the schools.
Speaker 1 (26:11):
That's amazing.
Speaker 6 (26:11):
Yeah, and then we build our own method and also
very important thing is that we don't want music only
as what do you call the outreage.
Speaker 8 (26:23):
Program or after school program.
Speaker 6 (26:25):
We want to be integrated as the part of the
curriculum the school and so all the schools that we're
working with that we are actually bringing music education back
to the yeah, to the school system actually, so that's
what we are trying to do. And so you learn piano,
but in the same time learning how to write a song.
(26:49):
Many of them actually they don't want to become a pianist.
They want to become a soundwriter or movie composer. Some
maybe some some kids do like to become a professional pianist,
but it's more music in general, but using piano.
Speaker 1 (27:08):
Okay, Well it's all laid out, yeah, so it's easy
to see. It's a great starting instrument.
Speaker 7 (27:14):
Yeah.
Speaker 6 (27:14):
The problem in the past is that in the the
elementary schools you have maybe just one piano in the
big class, right, but now we have like twenty to
thirty keyboards, so you can't Actually everyone can play.
Speaker 1 (27:29):
That's amazing. Yeah, that's so great.
Speaker 6 (27:31):
Where was the first The first school we were in Boston,
the Boston Public Art School. They didn't have a music class.
They only had an art class, okay. And then we
went to Harlem. We did a five schools there. Yeah,
and then some party in New Jersey and now we
(27:52):
have a we have a more than one hundred schools
in the US. Wow, more than one hundred schools. See
in China and Europe were having like twenty schools.
Speaker 1 (28:03):
That's amazing. That's really beautiful.
Speaker 8 (28:05):
Thank you.
Speaker 1 (28:06):
Yeah, I think that's amazing. Did you where did you
grow up?
Speaker 6 (28:10):
I grew up in China in a very industrial city
in the northeast called Shinyang.
Speaker 8 (28:18):
Yeah.
Speaker 6 (28:19):
But the good news was we had a conservatory in
that city and doing the early nineties when I was
very young, and they had many like international kind of
a piano festivals. Wow, there were a lot of One
of our professors went to my home city to teach
(28:43):
and I had I had an amazing teacher. She came
from Shanghai.
Speaker 8 (28:48):
So and then.
Speaker 6 (28:51):
At the age of nine, I moved to Beijing to
the Central Consul to get serious. This is like how
you know how this kind of the system with the conservatory, right,
so you'll start quite And then I went to America
(29:11):
at the age of fourteen.
Speaker 13 (29:13):
Oh.
Speaker 6 (29:13):
Wow, there's great school in Philadelphia called the Curtisitute.
Speaker 1 (29:18):
Yeah.
Speaker 6 (29:18):
Yeah, yeah, so that's how how I Yeah so yeah,
I spent my childhood in China and then as a
teenager moved to the US to keep studying.
Speaker 1 (29:30):
Yeah that's amazing. But you were quite young when you
got serious. So your school system do you remember being little?
You didn't learn it in school at all.
Speaker 6 (29:40):
I did learn the regular music knowledge you had music
in school, yeah, which was good. But then, of course,
very quickly I went to the consula three.
Speaker 1 (29:50):
Yeah, so skid down the business. Yeah.
Speaker 8 (29:54):
Yeah.
Speaker 6 (29:55):
Then then it's very good because it's very professional way
the training yeah wow, really focused on the performance, which
is quite important because if you're only in training for
the theory, which is good, but then you're a little
bit behind of the techniques. Yeah, so this has to
be balanced. Yeah, so that's why the conservatory systems quite
(30:20):
good for for your early kind of professional training.
Speaker 1 (30:26):
Yeah. It sounds like a wild wild ride, but it's.
Speaker 6 (30:32):
Really I mean it's very busy, you know, yeah, just
not enough playing time.
Speaker 8 (30:38):
You know, got other fun fun.
Speaker 1 (30:40):
Times like the book camp.
Speaker 8 (30:43):
A lot of a lot.
Speaker 6 (30:44):
Of serious practice six hours a day, that's insane.
Speaker 1 (30:47):
Yeah wow, yeah, yeah that seems like a lot, but
you love it and.
Speaker 6 (30:53):
Part of you, you know, I mean the majority of
time I loved it, but sometimes you know, also as
a kid, just yeah, I don't want to practice anymore.
Speaker 1 (31:02):
Yeah, I mean, that's why I remember wanting to quit
as soon as I started taking piano lessons because I
didn't want to practice so much. It seemed like a lot. Yeah,
that's why I could never be a classical pianist. I
don't practice enough. But yeah, you know, when I was young,
I learned. I ended up taking piano at aol at
(31:25):
a community college in Texas, and they made you take
two classes a week. One was your private lesson and
one was theory. And we had wurlitzers like this in
the room. We had twelve worlitzers set up and everyone
was learning theory. And it came up on some kind
of It wasn't a computer, but it must have been
computerized somehow, but it was very old school analog on
(31:47):
a screen what notes you were playing and had a Yeah,
it was a very cool way to learn. And I
remember being I went to an arts magnet high school
and then I went to college for music. So they
made us theory in high school and then college, and
I was like, I did this when I was in
second grade. I started learning all this, so you know,
it was actually I realized how lucky I was to
(32:09):
learn that so young. I had no idea at the time.
Speaker 6 (32:12):
So that's how you built up the composation skills, right.
Speaker 1 (32:16):
Yeah, well I learned. Yeah, I mean the theory was
so good because you learn, you know, instead of thinking
of of music like B flat F E flat. I
mean I I do think of it like that, but
I also think one five, four minor two minor six.
You know, I can think like that and then I
(32:38):
can transpose. I feel like that'll help me with that.
It's interesting. So that's how I think of music is
in almost like in terms of just the numbers and
the chord quality. Right yeah, so there there's no wrong
way to eat e reesis.
Speaker 8 (32:56):
That's why I'm not a composer.
Speaker 1 (32:58):
Oh, I'm sure you could be. I mean, you must
hear music when you're sleeping. That isn't real yet, right.
Speaker 6 (33:05):
The thing is like for me, there's so many great
classical repertoire.
Speaker 1 (33:10):
Yeah, and then.
Speaker 6 (33:12):
In a way that we are so spoiled. Yeah, the
things like never finished practicing those.
Speaker 1 (33:17):
That's true. You feel like you have to get to
the end of it before you start composing. I don't
think so. That's interesting.
Speaker 6 (33:25):
Yeah, but if I have your talent, I probably will
practice less and I'll compose more.
Speaker 1 (33:30):
Oh, I think you have my talent plus a million.
I think it's just interesting, like the different avenues we
all come from, you know, and.
Speaker 6 (33:38):
It's all come from the the laveful piano, right, that's yeah.
Speaker 8 (33:42):
This is your first instrument, right.
Speaker 1 (33:44):
I sang first.
Speaker 7 (33:46):
Yeah.
Speaker 1 (33:47):
There was a long time though in my twenties, after
my first album came out, where I sort of I
didn't want to. I had a hard time composing on
piano in the beginning, Oh, writing songs, Yeah, I because
I feel like it didn't sound the way I wanted
it to sound. It sounded very simple, you know, on
the piano, but if you play a simple court on
the guitar, it's easier to come up with a melody
(34:09):
over somehow. So I started writing more on guitar first,
But now I write on piano. I had to simplify
myself sort of, you know, at the piano. But I
don't know, do you like the.
Speaker 6 (34:23):
Travel, Yeah, it's it's okay, but if you always on
the tour, always on the road.
Speaker 8 (34:28):
It's not very nice.
Speaker 6 (34:30):
No, it's just it's kind of not because not normal
something right, you're leaving in another world or.
Speaker 1 (34:40):
In a hotel.
Speaker 6 (34:43):
So when I'm off tour, I just I just want
to go home. So people ask me, I do want
to wake? I don't want I need vacage. I just
want to stay at home.
Speaker 1 (34:52):
It is hard a vacation. When you tour a lot,
you don't want to get on a plane and go to.
Speaker 8 (35:00):
I get you for another hotel room stay.
Speaker 1 (35:03):
Also, you it feels a little more solitary because you're
either playing solo or with an orchestra. For me, I
have a band and a crew that I travel with
and so we get to hang out so be on tour. Yeah,
it can be hard, but it's pretty fun because you
have your core people that you choose right and usually.
Speaker 8 (35:23):
Much more fun. Yeah, I would say it's.
Speaker 1 (35:25):
I wouldn't do it if I hated the people I
traveled with. It probably, but yeah, to be that solitary
seems difficult.
Speaker 6 (35:33):
Yeah, yeah, for us it's it's not always the same
people though. It's like, yeah, maybe only only in an
our two people that you travel with. Yeah, but then
it's always different. Yeah yeah, and you just play by ourselves.
Speaker 1 (35:50):
Yeah, that's tricky unless you're very outgoing, right.
Speaker 8 (35:55):
I realized my friend, Yeah, that would be hard.
Speaker 1 (35:59):
Yeah, all right, Well what do you think about this song?
Speaker 5 (36:04):
Yeah?
Speaker 8 (36:05):
Club?
Speaker 1 (36:06):
Do you know this song?
Speaker 8 (36:07):
This one? I don't know as your son?
Speaker 1 (36:11):
You know, Yeah, it just came out as an idea,
but we don't have to do it, but I'd be
happy to do. What do you say? Yeah, of course
I've never done it either, so I thought this.
Speaker 14 (36:24):
No.
Speaker 1 (36:25):
I was only trying to think of something wild to
do together, and somehow this song Pink Pony Club came up,
and I love the piano on it, and I just
kind of thought it would be fun.
Speaker 8 (36:36):
It's a lot of sharps.
Speaker 1 (36:40):
Yet, how do you feel about that? I?
Speaker 8 (36:43):
Okay, it's just read. It gives a kind of drive,
certain drive have more.
Speaker 1 (36:51):
It's a rare key I feel for people to play,
especially with the piano, and.
Speaker 8 (36:56):
You can this makes you count more exactly.
Speaker 6 (37:00):
I actually did prepare a little bit on the stage
off Carnegie Hall.
Speaker 1 (37:04):
You did not.
Speaker 8 (37:09):
Try to try to get that?
Speaker 1 (37:12):
Did anybody know what you were doing?
Speaker 6 (37:14):
Does anybody say they were they were busy setting up.
Speaker 1 (37:18):
I love it. That's incredible. Well, we could do it
a few times. I've never done it before. I'm excited
to try it.
Speaker 5 (37:44):
I know.
Speaker 10 (37:46):
You wanted me to stay, but I can't ignore the
crazy visions love me and.
Speaker 15 (37:54):
I that there's a special place boys and girls can
all be queens. Every single day, I'm having wicked trees
of leaving Tennessee.
Speaker 5 (38:14):
It's sat a minor cop. I swear it's calling me.
Won'ta make my mom proud?
Speaker 15 (38:23):
It's gonna cause a seed she sees her baby girl.
Speaker 5 (38:28):
I know she's gonna scream.
Speaker 11 (38:31):
God, what have you time?
Speaker 2 (38:35):
You're a Pink Pony girl and you dance at the club.
Speaker 11 (38:39):
Oh mama, just having fun on the stage.
Speaker 4 (38:46):
In my head, it's wear are.
Speaker 16 (38:49):
Belong down at the Pink Pony Club. I wanna keep
on lancing at the Pink Pony Club.
Speaker 13 (39:00):
I gotta keep on dancing. Then in the West Hollywood,
I gotta keep my dancing.
Speaker 16 (39:08):
Let the Pick Pony cor Pick Pony Club.
Speaker 5 (39:17):
Who I'm a.
Speaker 11 (39:26):
And Charles are on the floor.
Speaker 1 (39:29):
Bathers in the bathroom and a light outside the.
Speaker 17 (39:33):
Door, black lines and am just go ball each night.
Another reasons why I left it all.
Speaker 18 (39:45):
I think my wicked dreams from Tennessee.
Speaker 1 (39:51):
Oh Santa Mina curve, you've been too good to me.
Speaker 11 (39:56):
Won't make my mama crow. It's gonna a scene.
Speaker 18 (40:01):
She sees her baby girl and know she's gonna swim.
Speaker 11 (40:08):
Why haven't done? You're a pink pony girl? Can you
dance at the club now?
Speaker 13 (40:15):
Mom?
Speaker 11 (40:18):
It's just televin fun on the stage in my hand.
So I swear up be long down at.
Speaker 16 (40:27):
The Pink Bonny Cloth. I'm gonna keep on dancing at
the Pig Pony Club.
Speaker 13 (40:36):
I'm gonna keep on dancing down in West Harry Wall.
I'm gonna keep on dancing at the Pink pony Cloth.
Speaker 14 (40:46):
Pink Pony Club. Don't take I've left you all behind.
Speaker 5 (41:10):
Still love you in Tennessee. You're always on my mind.
Speaker 11 (41:20):
And my love. Every Saturday.
Speaker 18 (41:27):
I can hear your Southern draw a thousand miles aways say, God.
Speaker 11 (41:39):
I have you die.
Speaker 14 (41:41):
You're a pick pony girl and you dance out.
Speaker 11 (41:45):
The co No, Mama, just having fun and stating my head.
Speaker 14 (41:55):
It's where I belong down.
Speaker 5 (41:58):
Ut Hoy Club.
Speaker 16 (42:02):
I'm gonna keep hound dancing at the Pink Holdy Club.
I'm gonna keep on dancing down in West Hall. You would,
I'm gonna keep on dancing, have the Pink Hoony Club,
Pink ho Club.
Speaker 13 (42:25):
I'm gonna keep on dancing and have the pink Holly Co.
Speaker 16 (42:31):
I'm gonna keep on dancing down head West Holly Wod.
Speaker 11 (42:36):
I'm gonna keep on dancing, have.
Speaker 13 (42:39):
A pink holok ho Co'm gonna keep on Dy'm gonna lession.
Speaker 5 (43:14):
That was so fun.
Speaker 12 (43:16):
Oh my god, that was like that gave me chills.
Speaker 1 (43:20):
That was so fun you playing that song? Oh my god,
how was that for you? I thought it was great.
I just love this song so much, and it's you
have this, you.
Speaker 8 (43:35):
Have this ongoingness.
Speaker 1 (43:38):
It never stopped, It never stops. It's very cyclical, right,
the chords and then the lyrics. I mean, it's such
a deep story this this lyric, and I just find
it so striking and beautiful and sad but also empowering
and like it's like all these things wrapped up. And
(44:01):
you know when a song just tells a story in
three minutes and thirty seconds or however long.
Speaker 6 (44:06):
It is, this song has a lot of visual Yeah,
when you play you can feel.
Speaker 8 (44:11):
There's a lot of things like you can really sense.
Speaker 1 (44:14):
Yeah, yeah, I just love it. I love that you
were up for doing it. I would never be able
to do this song normally. I mean it's such a
huge song and you know it doesn't need me to
sing it. But doing it together was so fun and
I love Chapel Roane's voice, so it was hard for
me not to go. Yeah, but yeah, thanks for playing
(44:37):
that with me. Yeah. So your Piano Book two is
out now. It's an album.
Speaker 6 (44:45):
Yes, it's an album with the thirty two miniature of
masterful pieces from Chopin's nocturn to rock Mino Purdue Beto
m variations and also to UH sounds like Markni parad
orla oh cool. Yeah, and even some uh Japanese. There's
(45:13):
so much we have a like trying to get all
sort of a piano music, and also some new compositions
from today's composer like Tony and e.
Speaker 8 (45:26):
Charas is very cool.
Speaker 1 (45:28):
Piece, amazing. Yeah, there must be so so much to explore.
Speaker 6 (45:33):
Right, Yeah, this is the good thing about piano that
this is it doesn't need to be long pieces, but somehow,
whether the it's Mozart round or a Bach Predude or
something from House Zimmer or something. It's always there's always
some sort of connected.
Speaker 1 (45:53):
Ideas behind Yeah, I love it. Yeah, well, this has
been a joy.
Speaker 8 (45:59):
Thank you, Thank.
Speaker 6 (46:00):
You to come here and to feel your great voice
and feelings.
Speaker 8 (46:06):
You know, and this is very intimate.
Speaker 5 (46:08):
It is very intimate.
Speaker 1 (46:09):
It's not for everyone. Yeah, I'm just staring at you. Well,
thank you for playing my piano. Yeah, I'm playing with me.
It was great. You were the perfect guests. Amazing experience,
so fun. Yeah, how are we? I'm like the screen
(46:30):
is black. Oh yeah, we wanted okay, we did have
one last thing. We just wanted you to do the
orange trick. I was actually thinking you could almost do
it on Pink Pony Club, right, because it's a black notes.
Speaker 5 (47:01):
I love that.
Speaker 6 (47:04):
The good thing about the orange is that you can
go yeah yeah, but it's also can be pretty precise.
Speaker 1 (47:13):
Yeah, because it's just one little spot.
Speaker 8 (47:15):
Yeah, it's much easier than banana.
Speaker 1 (47:17):
Yeah.
Speaker 8 (47:19):
I tried in different fruit. Was not so bad.
Speaker 1 (47:25):
It gets bruised too easily.
Speaker 6 (47:26):
Right, this is the best, really, orange just really by
far the best instrument.
Speaker 1 (47:32):
You have to tell me how you came up with it?
Speaker 6 (47:34):
Okay, So this was Actually it's not my invention. It's
somebody who I love so much, great pianist and conductor
Daniel Barramore. And he's a very serious musician, and so
he always gives me a very serious piano lessons. So
I'm always quite actually nervous when he's teaching me. So
(47:57):
then we had this long session, very serious Shroberts or not,
you know. So, and then he went back to the kitchen.
I thought he's gonna to eat some some orange to.
Speaker 8 (48:10):
To, you know, to get more metamins or something.
Speaker 6 (48:12):
So so he came out. He said, do you know
how to play chopin Black key Istude? You know this
is the piece which is uh everything from the Blackie
And I played this piece so much as a kid
(48:34):
to practice to get into the Consoler three.
Speaker 8 (48:37):
And I said, of course.
Speaker 17 (48:38):
I know that.
Speaker 8 (48:39):
So I started playing. He had so bad I happened.
Speaker 6 (48:44):
I was like, I couldn't even play this piece after
so many hours of practice.
Speaker 5 (48:49):
He said, let me show you.
Speaker 1 (48:56):
That's hilarious.
Speaker 8 (48:57):
Yeah, I used from this such a serious musician. Yeah,
comes incredible, hilarious.
Speaker 1 (49:05):
That's a very long joke.
Speaker 5 (49:08):
Oh okay, I got it.
Speaker 1 (49:10):
That's great.
Speaker 8 (49:11):
So I learned.
Speaker 6 (49:12):
Really a big deal and then I show you everywhere.
That's so fun at some point, but not recently.
Speaker 1 (49:18):
Yeah, well thanks for hearing.
Speaker 8 (49:20):
So I see that Orange, I know what to do.
Speaker 1 (49:23):
You see you know exactly what we're going to ask
you to do. Yeah, awesome, cool, Yay, that was awesome.
It was incredible. I've wanted to sing Pink Pony Club
forever and I think if I went to do karaoke,
that's probably what I would choose.
Speaker 3 (49:38):
And no big deal that he was practicing that at
Carnegie Hall the night before.
Speaker 1 (49:41):
Oh yeah, I love that.
Speaker 5 (49:43):
It's hilarious. He practiced it, sounds amazing.
Speaker 1 (49:50):
He's great and I had so much fun doing that. Okay,
I'm going to say this as best as I can.
But the first song he performed was called Consolations, A
one seventy two number two in E Major Un Poco
Pui Mosso Composer Friends List, performed and recorded by Langlan
(50:10):
from Piano Book two, which was released in twenty twenty five.
The second song we did was Turn Me On. I
recorded that on my first album and it's a J. D.
Loudermilk song and it's also very well known for being
a song that Nina Simone did. The third song we
did was Pink Phony Club by Chapel Roon from the
Rise and Fall of a Midwest Princess, released in twenty
(50:33):
twenty three. Love that song special, Thanks so long long
for joining us today. We'll be back next week with
arujaf Tab. Norah Jones is playing along as a production
of iHeart Podcasts. Visit Nora Jones channel and be sure
to subscribe while you're there. I'm your host, Hora Jones.
I'm your host, Nora Jones. I'm your host, Nora Jones.
(50:57):
Recorded by Matt Marinelli, mixed by Jamie Le Audio, post
production and mastering by Greg Tobler. Artwork by Eliza Fry,
Photography by Shervin Linez. Produced by Norah Jones and Sarah Ota.
Executive producers Aaron won Kaufman and Jordan Rundag. Marketing lead
Alison Kantri Graber. Serious side effects include a happy heart.
Thanks for joining us.
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